Come Back, Mary Pickford!
So far, Hollyweird has taken FIVE money making movie franchises, remade them to appeal to a ‘Woke” Social Justice Warrior audience by sacrificing good writing, story telling, acting and, in some cases, even the long-since established lore and background of iconic characters (see, for example, the hype surrounding the black female 007 in the upcoming James Bond film: “Dr. No Time To Die Another Day”, but will be known in China and certain parts of the Middle East as “Let’s Fuck Ian Fleming’s Most Famous Literary Creation Into The Dirt”) and, when these cinematic bags of fetid celluloid offal eventually and disastrously fail at the box office, the makers of these multi-million dollar polished turds tries to shame all the NORMAL people for not being ‘enlightened’ enough to want to spend money on a poorly written, badly directed, overly preachy, In-Love-With-The-Smell-Of-It’s-Own-Farts movie-making that passes for ‘entertainment’ these days.
Starting with 2016’s godawful all-female “Ghostbusters” re-boot; the first of the five movie franchises to be remade by people who, instead of writing good stories and compelling characters, were filmed by people who just evacuated all of the Social Justice ‘Wokeness’ from their bowels all over the source material, right up to Hollyweird’s latest reboot bomb: “Charlie’s Angels”: Hollyweird, more than any field of endeavor, proves the maxim: “Get woke, Go Broke”.
(“Woke”: The act of being pretentious, obnoxious, and overbearing about issues related to Social Justice issues like Feminism, Race, Religion, Environ-mentalism…).
This new “Charlie’s Angels”, a remake of the 2000 movie “Charlie’s Angels”, which itself was a remake of the 1976-1981 T.V. show called “Charlie’s Angels”.
And they say there are no new stories to tell…
This new “Charlie’s Angels” was directed by Elizabeth Banks, who also co-wrote this piece of shit and stars as Bosley (and yes, I know: ‘Bosley’ was written as a man in both the TV series and the 2000 movie franchise...YOU aren’t WOKE enough, you horrible SEXIST!), and the movie bombed so bad in it’s opening weekend that it opened the worse of all of the four other Hollyweird Re-boot Franchise Failures. This movie sucked so bad, that its star and director, Elizabeth Banks, started trying to shame people into going to see her malodorous tribute to the polished turd that is insane leftist ideology or, failing that, placing blame for the failure of her film on men EVEN BEFORE HER SHITTY MOVIE OPENED:
“Look, people have to buy tickets to this movie, too. This movie has to make money,” she said. “If this movie doesn’t make money it reinforces a stereotype in Hollywood that men don’t go see women do action movies…” said Ms. (?) Banks (I don’t know if Elizabeth Banks is a ‘Ms.’ or not. It’s fecking HOLLYWOOD, MAN! How in Greta Garbo’s enigmatic stare am I supposed to know???).
Ms. Banks filmed this fanatically farcical Feminist freakout populated with strong, independent, sexually fluid, we-don’t-need-men-anymore women who battle the bad guys (the only men in the movie) with sex, violence, whining and white male guilt, and then said, when the whole package of celluloid sewer gas committed suicide at the box office:
“They’ll [meaning: evil men] go and see a comic book movie with Wonder Woman and Captain Marvel because that’s a male genre. So even though those are movies about women, they put them in the context of feeding the larger comic book world, so it’s all about, yes, you’re watching a Wonder Woman movie but we’re setting up three other characters or we’re setting up ‘Justice League,’” she added.
Hey Elizabeth: A LARGE section of the male population, including the evil WHITE male population, went to see: Aliens, Resident Evil, Hunger Games, Underworld— all successful, female-led franchises that have nothing to do with male super heroes and all seen and enjoyed by men, even those of the WHITE persuasion.
Kill Bill Vol. 1 and 2, Buffy the Vampire Slayer, Atomic Blonde, Salt, Wanted, Tomb Raider 1 & 2, Mad Max: Fury Road, Lucy, and… Oh, yeah! Let’s not forget a 2000 movie called — no joke — Charlie’s Angels, that opened to $40 million, and its 2003 sequel, Charlie’s Angels: Full Throttle, that opened to $37 million…
Elizabeth Banks is one of an ever-growing number of Hollyweird Feminutters who have whined and complained and fucked their way into positions to make steaming piles of Industrial Waste like the new “Charlie’s Angels”. Through the power of the vagina, these Hollyweirdos will use SHAME, GUILT, and DEGENERACY to get you to voluntarily submit to their indoctrination.
Sorry, Lizzie! I’m not about to be shamed by Hollyweirdos; a group of people second only to politicians on the Depravity Scale into PAYING MONEY to subject myself to your nonsense.
You say Evil Men won’t watch a movie about strong female heroes unless it’s a comic book film? Sit your ass down, Elizabeth, and shut up while I tell you about a REAL female hero of the cinema: Mary Pickford.
Pickford was screen tested by American cinema pioneer D.W. Griffith in 1909 and in her first week working for Griffith’s Biograph Film Company, Pickford was paid twice as much as the other actors working for the studio.
Because Mary Pickford was THAT good.
Before Mary Pickford, film actors were not named in the credits for fear that the audiences’ knowledge of such details as an actor’s name would break the suspension of disbelief needed to accept the characters the actors were playing. Mary Pickford realized that if the audience for early cinema knew the names of their favorite actors on the screen and became FANS of particular actors or actresses, it would sell more tickets. So- Mary Pickford became the first actor to be given film credit by name and opening the door for all of Hollyweird’s actors and actresses to see their name up in lights.
Because Mary Pickford was THAT good.
Pickford won the second ever Academy Award for her role in Coquette in 1929. Pickford went on to help establish modern film acting, began to write, direct, and produce her own films, gaining complete creative control of her work when she co-founded the Pickford-Fairbanks studio with screen legend Douglas Fairbanks, and later co-founding United Artists with Fairbanks, Charlie Chaplin, and D.W. Griffith.
She was the first actor to get their name ABOVE the title of the movie on marquees...
Because Mary Pickford was THAT good.
Mary Pickford didn’t WHINE, PROTEST, and KICK open doors for women actors, directors, writers, and producers in Hollyweird; she OPENED doors, like a Professional, and walked through them with head held high, fully aware of her talents and her worth, and EARNED her place as a pioneer of American Film because Mary Pickford was THAT good.
To say that men will not pay to see female heroes is a lie. Mary Pickford was, in her time, the most popular and highest paid triple threat actor/ director/ writer in the world with complete creative control over her films, the vast majority of which are considered American Cinema Classics.
I submit that Mary Pickford SHOULD BE considered a hero by all known feminist standards of film critique, and men paid MILLIONS of dollars to see her work. To hear Elizabeth Banks try to SHAME people to see her film, a film she would not have had a chance to make without Mary Pickford, and then to turn around after Banks’ film takes a dump right in the middle of a deteriorating American Culture and insinuate and perpetuate the stale meme that misogyny is to blame for her failure and the failure of all ‘Woke’ films like the new “Charlie’s Angels” because “(Evil White) Men won’t pay to watch strong women” is to spit on the grave of female film pioneers like Mary Pickford.
Note to Elizabeth Banks, all of her Woke Hollyweird Sisterhood-ship, and all other "under-represented minority voices in Hollyweird™":
Stop remaking established characters in your own image.
Tell us the stories you claimed you wanted to tell when you were screaming about not having a voice.
Don’t get Woke-
Get BETTER!
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